Diva User Guide

Diva User Guide
version 1.0, Howard Scarr 2011 !
Introduction
install / uninstall ____________________________4 online resources ____________________________4 the team ___________________________________4 the spirit of analogue ________________________5
about zero delay feedback filters _______________5 accuracy __________________________________5
loading presets _____________________________6

the MIDI Programs folder _____________________6 favourites and junk __________________________6
saving presets _____________________________7 editing ____________________________________7

data display ________________________________7 undo/redo _________________________________7 GUI size __________________________________7 knobs ____________________________________7 master volume ______________________________7 (M) = modification symbol _____________________7
Upper Panels
oscillators _________________________________8
TRIPLE VCO _______________________________8 DUAL VCO ________________________________9 DCO ____________________________________10 DUAL VCO ECO ___________________________11
feedback / high-pass filters __________________12

FEEDBACK _______________________________12 HPF | POST_______________________________12
main filters _______________________________13

VCF | LADDER ____________________________13 VCF | CASCADE ___________________________14 VCF | MULTIMODE _________________________15 VCF | BITE________________________________16
envelopes ________________________________17
ADS _____________________________________17 ANALOGUE_______________________________17 DIGITAL _________________________________18
TOC VCO HPF VCF ENV LFO EFX MAIN MODF SCOP TRIM MODS!
Lower Panels
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LFOs ____________________________________19 effects ___________________________________20 main _____________________________________21

tuning ___________________________________21 amplifier _________________________________22 master ___________________________________23
modifications _____________________________24
VCO_____________________________________24 filter _____________________________________24 feedback _________________________________24 (m) ______________________________________25 math ____________________________________25
scope ____________________________________25 trimmers _________________________________26 modulation sources ________________________27
Introduction
To get the most out of Diva, you will need a powerful computer. She can be very demanding in divine mode, but thats the price we pay to hear her wonderful voice when in top form... If your computer stutters too much while trying out presets, switch the accuracy mode to fast or even draft. You will soon learn which one your system can handle. Monophonic presets without voice stacking should be no problem, even on older computers. Of course you can render tracks to audio in the highest quality (set OfflineAcc to best). This first version of the manual was written within a few days prior to release, so several important questions may have not been answered. If you have any queries or would like to join a lively discussion about Diva and other u-he products, simply post a message in our support forum.
install / uninstall
Go to the Diva page, grab the appropriate installer, double-click on the downloaded file and follow further instructions. For more information, please refer to the ReadMe file included with the installer especially important for Windows 7 users! Diva is fully functional in demo mode except for an intermittent crackling that disappears as soon as she is registered by clicking on the patch name and selecting the first entry. The installer doesnt write anything into e.g. the Windows registry, nor does it create hidden files or otherwise modify your system. To uninstall, delete the plugin itself then all associated files from the following directories (the exact locations depend on paths chosen during installation): Windows presets Windows preferences Mac presets Mac preferences ...\VstPlugins\Diva.data\Presets\Diva\ ...\VstPlugins\Diva.data\Support\ (*.txt files) Macintosh HD/Library/Audio/Presets/u-he/Diva/ ~/Library/Application Support/u-he/com.u-he.Diva... (*.* files)
online resources
For Diva support and other u-he products, go to the u-he website For a lively discussion about u-he products, go to our support forum at KVR For video tutorials, go to our youtube channel
the team
u-he is Urs Heckmann (code, concept, design, discipline) Clemens Heppner (geek stuff, more code) Howard Scarr (sounds, words, wisdom) Hans Hafner (music... and real life)
with special thanks to Vadim Zavalishin and Andy Simper for invaluable input about zero delay feedback filters Alexander Hacke and Hans Zimmer for lending us their analogue synthesizers Beta testers and everybody who contributed presets (over 1200!) using the public beta Brian Rzycki for keeping the u-he PatchLib up and running! Nathaniel Reeves (http://nkurence.com/) for polishing the Diva logo
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the spirit of analogue

Diva captures the spirit of various classic analogue synthesizers by letting the user select individual modules (oscillators, filters and envelopes). The oscillators, filters and envelopes closely model components found in some of the great monophonic and polyphonic synthesizers of yesteryear. But what sets DIVA apart from other emulations is the sheer authenticity of the analogue sound. This comes at the cost of quite a high CPU-hit, but we think it was worth it: Diva is the first native software synth that applies methods from industrial circuit simulators (e.g. PSpice) in realtime. The behaviour of zero-delay-feedback filters when pushed to the limit clearly demonstrates the advantages of this groundbreaking approach...
about zero delay feedback lters

Most filters in old analogue synthesizers have one or more feedback paths. The input signal passes through a series of controlled resistors and condensers, and the output is fed back into the input (or to another point within the signal path). The classic Moog ladder filter has four simple lowpass filter stages and a resonance control that determines how much of the signal is fed back into the input. This feedback loop doesnt introduce any delay, feedback is practically immediate... Digital models try to reproduce this by calculating the result of applying four simple lowpass filters to an input sample. Feedback means repeating the calculation using the results of the previous one. While real circuitry can process a signal within a few nanoseconds, digital models calculate per sample, adding in the region of a million times as much latency to each iteration. The cumulative effect of feedback latency in digital emulations is very noticeable. Oversampling and higher sample rates help reduce the latency, but conventional digital filters always smear at higher resonance levels. Ways to address the latency problem have been available for many years, but implementations either dont model the inherent complex distortion inherent in real circuitry, or they arent suitable for realtime processing. Common to all methods is that they predict output values and use that prediction for the current calculation. Of course we cant see into the future, but our routines are fast enough to deliver at least a few voices in realtime. We calculate the filter with a few test samples and look at the deviation between the prediction and the result. We use that deviation to calculate a better prediction the goal is to close the gap as quickly as possible! We have applied a classic trial and error principle with a (we like to think) rather intelligent method of learning from our mistakes. As a rule of thumb the filters in Diva need to be calculated 3 or 4 times in succession, but it can take up to 20 cycles e.g. at high resonance or if the input includes white/pink noise.
accuracy
Click on the Main button at the bottom of Divas window. To the right of the Master section are two selectors called Accuracy and OfflineAcc. In the current version of Diva these are global parameters i.e. they remain fixed across all presets, per loaded instance: draft........ CPU-friendly, but FM will sound rough and resonance is primitive i.e. NOT zero delay! fast......... Fine for older computers and/or when you need more polyphony in acceptable quality great...... The best compromise between quality and polyphony on high-power computers divine..... Top-quality zero delay feedback filters... but can your computer can handle it? OfflineAcc only has two options same or best (i.e. divine in the current version). Some host applications may have problems rendering to audio at the selected accuracy, but the better ones include a inform plug-ins of offline rendering status or similar. If you are unable to render at the selected accuracy, please post the issue in our support forum.
loading presets
Click on the Patches button at the bottom of Divas window. Select folders from the bottom left panel and presets from the main area. The root (Local) directory contains a selection of presets from the subdirectories. A white square next to a folder name means that the folder is collapsed click to expand!
The BASS, LEAD, POLY SYNTH, DREAM SYNTH, RHYTHMIC and EFFECTS folders contain a bunch of presets sorted according to category. TEMPLATES contains a bunch of simple vanilla settings to be used as basis for your own creations. THIRD PARTY contains several banks of presets sorted by sound designer, plus a special subdirectory called TREASURE TROVE open this for hundreds more sounds! The bottom righthand area of the Patches window contains any patch information the sounddesigner has stored with the preset.
the MIDI Programs folder

Local also contains a special folder called MIDI Programs, which is initially empty. If you put a bunch of patches (up to 128) in there, they are all loaded each time Diva starts. Individual patches are activated via MIDI program change messages. As patches are accessed in alphabetical order, it is a good idea to put a number at the beginning of each name: 000 restof-name to 127 rest-of-name or similar. Banks: The MIDI Programs folder can contain up to 128 sub-folders (of 128 patches each), and these are switchable via MIDI bank select messages.
favourites and junk

Right-click in the Presets panel to open a context menu: You can classify the current selection as Favourite or Junk. Favourites are marked with a bright star. Junk will disappear immediately, but can be made visible (appears with a Stop sign) by selecting show Junk in that same menu.
saving presets
Select the folder where you want to put your sounds (the User folder is probably the best place you will find it at the very bottom of the folder list). Click on the save button at the top left. A window opens in which you can give your sound a name, enter your name (as author) and any details you want to add: preset description, preset usage etc.. Then confirm via the apply button. Right-click in the folders pane whenever you need to create a new folder or refresh the list (this is necessary whenever folders or presets are added using Explorer / Finder). Tip: Create an alias to your preset folder, and keep it on your desktop.
editing
data display
Primarily, the central display shows the name of the selected patch or the current value of any element being edited. Clicking on the areas either side of the display steps through patches. Clicking on the display opens a drop-down list containing all the patches in the current directory a convenient way to select another patch without having to open the Patches window.
undo/redo
The two curved arrow symbols call Divas undo and redo functions, with a practically unlimited number of steps until you change the selected preset, of course!
GUI size
Right-click on any blank area in Diva to change the size. Note: At the time of writing, 8 sizes are available and the only skin is the original. A custom skin editor with a very sophisticated scaling system (which should also make the labeling clearer!) is in development.
knobs
Values are adjusted via the usual click-and-drag, often allowing finer resolution via the SHIFT key on your computer. Note that several of the knobs are bipolar i.e. zero is in the center so you can set negative values. Knobs can be reset to their default values via double-click, or remotecontrolled / automated via right-click (MidiLearn function). Tip for wheel-mouse owners: Unless you need fine control, you dont have to click on knobs and switches to change values just mouseover and roll the wheel. Mac owners using TrackPads also benefit from this feature.
master volume
To change the overall level, click on the Main button at the bottom of Divas window and adjust the large knob in the centre of the Master sub-panel.
(M) = modication symbol

Whenever and wherever this symbol appears, this means that the neighbouring parameter is being modulated from within the Modifications panel.
Upper Panels
While checking out the presets you may have noticed that the main modules can be swapped out. Simply click on the label at the bottom of each module (you dont have to click on the small grey triangle), then select from the list. Certain labels within each panel are also accompanied by small grey triangles. Clicking on those labels will replace default modulation sources. Selected sources other than the default appear as Dymo tape like the labels you often see on modified (modded) analogue hardware.
oscillators
Diva offers 4 different oscillator types: Triple VCO (morphing oscillators with FM, sync and filter feedback), Dual VCO (multi-wave oscillators with sync, PWM and cross mod), DCO (single twowave oscillator with PWM and flexible sub-osc) and Dual VCO Eco (CPU-friendly, pulse width, ring modulation). All of these include a noise generator. Some of the parameters, although practically the same, have different names in different models. Perhaps unnecessary, but more authentic! Important: the output levels of oscillators can have a significant effect on the tonal quality of the filters. The Dual VCO and DCO models may include a gain parameter in future versions of Diva.
TRIPLE VCO
Perhaps the most complex oscillator model, this one occupies two of Divas main panels...
The switches on the far left are for pitch (tune) modulation and waveform (shape) modulation, each with a common modulation source and associated amount knob. To specify different modulation sources than the defaults (ENV2 and LFO2 respectively), click on those labels. The SYNC switches enable hard-sync for oscillators 2 and 3 (both synchronize to oscillator 1). The pitch of a synchronized oscillator should generally be set higher than oscillator 1 or at least modulated upwards via TUNE MOD. FM 1->2/3 frequency modulates oscillators 2 and 3 by oscillator 1, often resulting in complex dissonant timbres. The amount of FM can be modulated in the Modifications panel.
The rotary range switches and Detune (oscillators 2 and 3 only) are self-explanatory, except for one thing: Detune is a 5-turn potentiometer: try moving it beyond 5 and see for yourself! The waveform controls are continuous, from ramp through triangle and sawtooth to square, then narrower pulse waves. For maximum PWM (pulse width modulation), set the waveform to 8.00 (25% pulse), activate shape modulation for that oscillator and set SHAPE MOD to 10.00. The MIXER section contains volume controls for each oscillator plus noise (with Pink or White switch). The FEEDBACK knob controls the amount of signal taken post-filter and fed back into the mixer like Jan Hammers trick of connecting an output of his Minimoog back into the input. Feedback starts with mild bass boost and ends at subharmonics or howling noises.
DUAL VCO
The other complex oscillator model, with the advantage of independent (split) pitch control...
The two sliders to the left are for pulse width modulation. PW sets the nominal width from very narrow through 50% to 100% (i.e. silence). The slider labeled LFO2 (by default) sets the modulation amount, with zero in the centre. The switch below those sliders applies the settings to oscillator 1 only or to both oscillators at the same time. The 4-way sliding switch (1/both/2/split) determines the target(s) for the two pitch modulation sources (ENV 2 and LFO 2 by default). Set this to SPLIT if you want to modulate the pitches of VCO 1 and VCO 2 independently. The two vertical rows of buttons select waveforms. Multiple waveforms can be activated without making the oscillators any louder. The SYNC button synchronizes VCO 2 to VCO 1. CROSS MOD (cross modulation) is the same as FM 1->2/3 (see Triple VCO above) except that the amount can be modulated directly in the oscillator panel via the dedicated knob. SHAPE fundamentally affects tone, MIX balances the relative volumes of VCO 1 and VCO 2.
DCO
This is a single oscillator model specializing in complex / bright waveforms...
The knobs below the rotary TRANSPOSE switch set amounts for two pitch modulation sources (ENV 2 and LFO 2 by default). Like in the Dual VCO model, the two sliders to the left are for pulse width modulation: PW sets the nominal width (from very narrow to 100%), and the slider next to it sets the modulation amount, with zero in the centre. Pulse and sawtooth WAVEFORMS are added together using the vertical selectors. The straight line is silence, the 4th option from the top (in each case) reacts to the pulse width settings. The other waveforms have additional harmonics fairly obvious from the images on the panel, but worth viewing in Divas own oscilloscope! these two waveforms react to pulse width settings
The SUB-OSCILLATOR offers six different waveforms, all based on pulse waves: the upper four are an octave below the main oscillator, the lower two are two octaves down.
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DUAL VCO ECO

This model is fairly primitive (there is no PWM or FM / cross modulation), but it has the lowest CPU-hit. Another advantage is the inclusion of a ring modulator...
Although the two oscillators can be tuned independently, the two TUNE MOD sources/controls affect overall pitch, like in the DCO model. Apart from a relatively low CPU-hit, the main feature of the ECO oscillator is that switching the oscillator 2 waveform to RING activates a ring modulator between the selected oscillator 1 wave and a square wave from oscillator 2. All other elements in this panel are fairly self-explanatory, so lets move on to the next panel...
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feedback / high-pass lters

While the Triple VCO oscillator includes a mixer, the other oscillator models allow the central panel to be switched between feedback (only) and various high-pass filter models...
all four feedback / HPF panel options
FEEDBACK
The same as integrated into the TRIPLE VCO oscillator model (see there). The knob controls the amount of signal taken post-filter and fed back into the mixer. Effects range from mild bass boost to subharmonics / low-frequency howling.
HPF | POST
Although located to the left of the main filter, this model is actually after the filter in the signal path. It doesnt affect the tone of the main filter by changing its input levels, but either boosts the bass (BOOST setting) or removes low frequencies from the already filtered signal.
HPF | PRE
A high-pass filter before the main filter, with continuous frequency control. HPF | PRE can affect the tone of the main filter by sending it fewer low-frequencies to work with. Use this model e.g. to tame the output of the DCO oscillator, or to thin out noise etc..
HPF | BITE
A complete high pass filter (also before the main filter) with cutoff modulation and resonance controls. Unlike the similar-looking Eco oscillator, this is actually the most CPU-hungry option... so you can expect some powerful tonal shaping. The PEAK knob is a resonance control. Two REV (revision) models are available, with very different characteristics. But be warned either of them can BITE!
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main lters
This is where a lot of Divas magic happens. The current version of Diva offers four main filter models, each based on a classic hardware filter (or two): Ladder, Cascade, Multimode and Bite...
VCF | LADDER
Classic 24dB per octave ladder filter based on the behaviour of a specific piece of monophonic hardware (the word on the street is that each unit that left the factory sounds at least slightly different). In addition to the original specifications, VCF | LADDER offers bipolar filter-FM from oscillator 1 plus a 12dB per octave (2-pole) option... Either side of the ubiquitous Cutoff and Emphasis (resonance) controls is a pair of userdefinable modulation sources (ENV 2 and LFO 2 by default) with amount knobs, plus a freely adjustable key follow control (KYBD). Note: Emphasis (resonance) and FM amount can be modulated in the Modifications panel.
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VCF | CASCADE
A cleaner sounding filter than Ladder, CASCADE offers a very similar set of controls...
Purely in terms of features, the only difference between the Ladder model and this one is the ROUGH / CLEAN switch. Apart from altering the overall tonal character, it has a noticeable effect on the amount of resonance at the top end of its range. VCF | CASCADE is an all-rounder. It is particularly good for big smooth pads, without generating too much grunge when input signal levels are high. The 12dB per octave switch (click on the LED) effectively removes two of the poles, resulting in a brighter sound while still retaining the smooth character.
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VCF | MULTIMODE
Featuring high-pass and band-pass options, this model is based on the filter in yet another classic polyphonic synthesizer (or two), plus a few additions...
All controls except the sliding switch should already be familiar, assuming you have read about the other filter models. LP4 is a 4-pole (24dB per octave) low-pass and LP2 is a 2-pole (12dB per octave) alternative. HP is a high-pass (it filters out the low frequencies) and BP a band-pass (this filters out a band of frequencies around the cutoff point).
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VCF | BITE
Assuming you have read about the other filter models, you should be quite familiar with all the controls here. However, although VCF | BITE appears to have no distinguishing features, it does sound very different from the other models...
The tone is highly dependent on input signal levels, the revision (REV) and the value of PEAK i.e. resonance. Like the corresponding high-pass (see there), the lowpass BITE model is a real character, able to deliver anything from solid 2-pole to screaming mayhem. Tip: Try low oscillator volumes (if possible) first. Even as little as 10% can be just right!
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envelopes
The righthand panel comprises two envelopes, one above the other. Each has its own model switch envelopes can be mixed-and-matched like everything else in Diva. Note that the curves of envelopes within the same hardware synth (i.e. those used for amplifiers vs those used for filters etc.) often differ. This important detail has also been carefully modeled.
ADS
Simplified ADSR with shared decay and release times. Release can be switched on or off.
This envelope was modeled on that same specific piece of monophonic hardware mentioned above, but adapted for polyphonic use. Tip: Before switching RELEASE on in envelope 1, lower the decay value. VEL determines how much the envelope level is modulated by MIDI velocity. KYBD (keyboard follow) scales the attack, decay and release times according to MIDI note number. It makes the envelope of high notes shorter and low notes longer.
ANALOGUE
Standard ADSR modeled after another treasured analogue synth...
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DIGITAL
Digital ADSR modeled after a later (and significantly cheaper) successor to the above...
The DIGITAL envelope contains two extra buttons that resemble large LEDs: The Q button quantizes levels for a steppy/grungy sound (think Alpha Juno or Matrix 1000), and the C button affects the overall curvature, giving the envelope more of an S form.
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Lower Panels
Note: More detailed information and examples will be included in future versions of this document
LFOs
At the bottom left of all windows except Patches, you will see a pair of low frequency oscillators:
LFO 1 is also used as the direct source of vibrato, and LFO 2 is connected by default to several parameters in Divas other modules (hence the labels in brackets).
The Waveform selector opens a list of all available LFO shapes, most of which should be quite familiar. Perhaps a few need some explanation: sqr hi-lo is a square wave starting positive / high sqr lo-hi is a square wave starting negative / low rand hold is a steppy random wave rand glide is a smooth random wave
The Restart selector has four options affecting when LFOs will be restarted: sync never restarts LFO for all notes are in phase unless modulated apart gate restarts per note at the specified phase (see below) single is like sync, but restarts at the next note after all gates are closed random restarts at a random phase per note. Phase adjusts where within its cycle the LFO waveform will restart Delay fades the LFO in, from immediate to about 20 seconds Rate offsets the LFO speed (negatively or positively) from its nominal value Rate Mod is an amount control for a rate modulation source (neighbouring selector) Sync is the rate/synchronization mode 3 absolute times plus 24 synchronized to song tempo Depth Mod is a depth control for an LFO level modulation source (neighbouring selector)
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effects
At the bottom right of all windows except Patches, you will see a pair of stereo EFFECTS...
The upper selector specifies the effect, the lower selector a sub-type for the Chorus or Phaser. The large LED to the left of the upper selector is an on/off switch for the effect. Note: EFFECT 2 follows EFFECT 1 in the signal path i.e. the effects are arranged in series. The effect models in Diva are very easy to learn, so with your kind permission the individual parameters will not be explained in this (first) version of the manual! Heres a simple list for now: Chorus (classic, dramatic or ensemble) with LFO rate and depth, wet level controls Phaser (stoned, flanged) with feedback, sync, stereo width, LFO rate, phase offset controls Plate reverb with pre-delay, diffusion, damping, wet/dry levels, decay and size controls Delay with center/left/right times, dry/centre/side levels, HP/LP filters, tape wow and feedback Rotary speaker emulator with top/bottom synchronization and balance, rate switch controller, dry/wet mix, output level, slow/fast rates and rise/fall time, stereo width, drive and output levels More details in the next version of this manual...
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main
Selecting the Main button opens a set of three panels: TUNING, AMPLIFIER and MASTER...
tuning
The TUNING panel is for overall pitch control:
Vibrato controls the amount that oscillators are pitch-modulated from LFO 1 (remember that LFO levels depend on the value of Depth Mod). Glide sets the portamento rate, Glide2 is a bipolar offset for VCO 2 only. Range is the portamento depth. Lower values shift the beginning of the slur closer to the target note great for sloppy intonation effects! GlideMode has two options... time: however far apart notes are, the glide will take exactly the same amount of time. rate: When notes are further apart, glide is proportionally slower. Fine (fine tune) shifts the pitch over a range of +/- 1 semitone Transpose shifts the pitch in semitone steps over a range of +/- 24 semitones. Up/Down sets the pitch bend ranges from 0 to 24 semitones. Microtuning: Diva supports standard .tun microtuning. Hundreds of microtuning tables are available online, most of them free. Put these files into the following folder on your hard drive: Win: ...\Diva.data\Tunefiles (specifically for Diva) Mac: MacHD/Library/Application Support/u-he/Tunefiles/ (global for all u-he plugins)
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amplier
Volume and pan controls:
VCA selection: either envelope 1 or a simple gate (thus freeing up Env1 for other purposes). Volume is a bipolar gain control. Positive values can subtly overdrive the amplifier. Vol Mod is for gain modulation (via the neighbouring modulation source). Pan (panorama) shifts the voice(s) towards the left or right channel. Pan Mod modulates pan position. To e.g. pan stacked voices apart, use Voice as modulator.
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master
This is perhaps the most important panel in Diva. Accuracy (for saving or squandering CPU power), voice polyphony and voice stacking, mono/poly modes, master output. Not forgetting the automation-capable LED colour knob!
Voices sets the maximum number (2-12) of playable voices before note-stealing occurs. Mostly used to guard against audio glitches while running CPU-intensive patches. Voice Stack sets the number of unison voices. Use the Voice modulation source and/or stacked voice tuning to offset stacked voices against each other Mode has five options... Poly: standard polyphonic operation Mono: monophonic, each new note triggers the envelopes Legato: monophonic, doesnt retrigger until a space is left between consecutive notes. Duo: duophonic, max. 2 notes, oscillator 2 follows the highest note (Note Priority is ignored) Poly2: a variant of Poly in which notes in their release stage are stolen before new voices. Note Priority only applies to Mono and Legato modes. The options are... last: the most recent note is played (later, digitally controlled synthesizers) lowest: the lowest note (earliest and possibly best, most classic USA mono-synths) highest: the highest note (EMS plus most classic Japanese mono-synths) Output sets the final volume for a patch. As this control has no effect whatsoever on the tone, use Output in preference to amp Volume to balance levels between patches. LED Colour determines the colour of all indicator lights in Diva. Automatable... Accuracy is a VERY important global parameter, as it trades CPU-hit for realtime audio quality (especially resonance). See page 3 for details. Offline Acc is the accuracy used for offline audio rendering, and is also a global parameter.
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modications
Click on the Modifications button to open the following panel:
The upper half of the Modifications panel includes modulation options that may not have been included in the main panels (e.g. resonance control), and the lower half has a few simple math functions for tinkering with modulation sources before use very useful!
VCO
FM & Cross Modulation Depth lets you modulate the FM amount in the TRIPLE VCO (and perhaps future oscillator models) from the selected modulation source. Note that this feature mirrors the extra Cross Mod parameters in the DUAL OSC model (try it and see). Noise & Dual VCO Mix lets you modulate the level of Noise (or the oscillator also responsible for noise) in all oscillator models, from the selected modulation source. For the Triple VCO and DCO models, this is easy because the noise generator is a separate audio source in both cases. In Dual VCO and Eco models, however, it modulates VCO1 level because noise is an integral part of VCO1. In the Dual VCO (not Eco) model, it does this by negatively modulating Mix great for cross-fading between the two oscillators!
lter
Resonance Mod lets you modulate the Resonance / Emphasis / Peak parameter from the selected modulation source. There is no equivalent within the main oscillator panels. Filter FM Mod lets you modulate the amount of filter FM (OSC1) from the selected modulation source.
feedback
Feedback Mod lets you modulate the Feedback parameter from the selected modulation source. This only has an effect if the oscillator model is Triple VCO, or Feedback is selected as the central module.
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(m)
This is not a button, but a brief explanation / reminder of what the Modification symbol means.
math
rectify converts any negative values within a modulation source to positive values invert flips a modulation source on its head, negative becomes positive and vice versa quantize creates discrete steps the value is a division factor lag slows down changes in the mod source, e.g. makes square waves smoother multiply outputs the product of two modulation sources add outputs the sum of the two modulation sources
scope
Every synth needs an oscilloscope...
Frequency controls horizontal resolution Scale controls vertical resolution
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trimmers
This panel is the most esoteric part of Diva from the users point of view at least! As well as detuning voices (individual as well as stacked), a degree of slop can be applied to cutoff frequency, envelope times, pulse width and glide times...
LEDs 1-16 indicate which voices are currently being played. VCO Voice Detune lets you detune individual voices (per oscillator). Double-click to reset. Voice Map Modulator knobs specify values for the VoiceMap modulation source. Use VoiceMap for any offsets you like, e.g. panning, cutoff, resonance... Voices mirrors the parameter in the Main / Master panel. Stack defines the number of voices to be played in parallel... Stacked Voice Tuning sets the pitch of each stacked voice within a range of +/- 2 octaves Max Detune is a scaling factor for all Voice Detune knobs. Keep values low for good tuning. Drift is a slow wavering of the overall pitch. Keep values low for good tuning Cutoff Slop / Env Slop / PW Slop / Glide Slop are similar to Max Detune, but for cutoff frequency, envelope times, pulse widths and glide times respectively. These do not have individual knobs, but a randomize button (rnd) instead. The rows of detuners only have 8 knobs patches with 12 or 16 voices reuse some of them!
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modulation sources
The available modulation sources are divided into two alphabetical lists. The upper half is for MIDI data, envelopes and LFOs. The lower half is for simple math functions and stack/voice indices etc.: default Breath Env1 Env2 Expression Gate KeyFollow KeyFollow2 LFO1 LFO2 ModWheel PitchWheel Pressure Velocity Add Alternate Invert Lag Multiply Quantize Random Rectify Voice VoiceMap none a modulation source chosen to suit each target... but often none. breath controller, MIDI CC #02 envelope 1 (amp envelope) envelope 2 (modulation envelope) expression pedal, MIDI CC #11 MIDI gate i.e. whenever a note is being played MIDI note pivoting around E2, including any Glide Ditto, including Glide + Glide2 offset Divas vibrato LFO Divas mod LFO modulation wheel, MIDI CC #01 MIDI pitch controller (wheel, stick, ribbon... according to hardware) channel or polyphonic aftertouch, whichever is received first MIDI velocity adds two mod sources together flip-flop i.e. two alternating (extreme) values inverts the mod source negative to positive and vice versa slows down changes in the mod source, makes e.g. square waves rounded multiplies two mod sources together e.g. LFO2 x modulation wheel creates discrete steps the value is a division factor (try 2.00, 4.00, 8.00...) random value per played MIDI note converts any negative values within a modulation source to positive values stack index use for e.g. Pan. For detuning, use the stacked voice tuners the 8 general-purpose offsets defined at the bottom of the Trimmers panel nothing!
The End
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Diva User Guide

version 1.0, Howard Scarr 2011 !

loading presets _____________________________6

saving presets _7 editing ________7

feedback / high-pass filters __________________12

main filters _______________________________13

LFOs __________________19 effects _20 main _____________________21

scope ____________________25 trimmers _26 modulation sources ________27

the spirit of analogue

about zero delay feedback lters

the MIDI Programs folder

favourites and junk

(M) = modication symbol

DUAL VCO ECO

feedback / high-pass lters

all four feedback / HPF panel options

Frequency controls horizontal resolution Scale controls vertical resolution

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